I do think that at a certain point, the reboot sequel mode has to give way to original ideas and back to a place where, you know, films are, you know, a medium and the cinema is a place you go to see something that is, you know, wholly new.

Stories in which the destruction of society occurs are explorations of social fears and issues that filmmakers, novelists, playwrights, painters have been examining for a long time.

Cameron Crowe is someone who I've admired for so long, and I've been friends with him for many years, and I've wanted to work with him so badly that I just never stopped bothering him about writing a script that would be for a pilot.

I guess the idea of not wanting to choose to direct a film, for which I've not read a script. It's a tough decision to make without seeing any pages. That's not to say that I don't have all the faith in the world in the spectacular writers.

When you work on something that combines both the spectacular and the relatable, the hyperreal and the real, it suddenly can become supernatural. The hypothetical and the theoretical can become literal.

When I was a kid, it was a huge insult to be a geek. Now it's a point of pride in a weird way.

I think you have a passion and an obsession for something when it's not necessarily ubiquitous.